Yesterday we saw a discussion and collection of images of several “sculptured” pieces a/k/a cire perdue, or lost wax technique for casting objects in glass. What came out of the discussion is that Mr. Carder experimented with this technique during his studio period. That is after he reached age 69 in about 1932 or 1933. Out of this discussion came a series of images made available by Paula Ellman. Now, some think a few of those images may be acid etched pieces rather than cire perdue.
We’ll examine those comments in a moment.
However, one suggestion is that perhaps we ought to solicit cire perdue pictures and post them or collect them. One problem is that these aren’t well documented and it would be interesting to collect those. Perhaps a page on our web site could be used for this.
This reminds us that in 1993 The Rockwell Museum did an exhibit “Brilliance in Glass: The Lost Wax Glass Sculpture of Frederick Carder and issued a companion pamphlet. In the text of the pamphlet it notes that “Carder considered cameo glass to be the epitome of sculptured glass.” The pamphlet also notes that during the studio period he had the possibilities of experimenting with glass techniques he had had little chance to explore and master personally during his production years. These experiments included pate de verre and Rhineland Diatreta or “cage” glass and sculptures, along with cast glass by the cire perdue process.
Al Bradtke comments

I enjoyed looking at the photos provided by the Ellman’s. I was surprised to see the mosaic with the sculptured glass mask listed as cire perdue. As those members who visited our home and collection during the symposium may recall, we have a hanging lamp with 6 frosted amber panels and a single frosted crystal panel of the same mask. I believe these to be architectural pieces and not cire perdue. Perhaps Mr. Carder did these panels using both methods.
I also looked at the bowl with the deer, and I believe that piece may very well be an acid etched (acid cut back) piece instead of cire perdue.
These two items make me wonder if perhaps Mr. Carder used the term sculptured glass to refer to pieces with molded or designed patterns rather than using the term to refer to cire perdue pieces. I consider myself a student of Mr. Carder’s glass, and the above represents only an opinion which could easily be wrong. Thanks for forwarding the articles posted by others – I always enjoy the discussions and photos that ensue.
and, from Dick Stark

Alan……….i believe that some of the objects referred to as “sculptured glass ” were not c p, but rather cast glass, often with an acid or sand-blasted surface. the interior of the true cp’s often has a more disturbed flow pattern as opposed to glass merely mold poured. you may refer to Lalique examples, some of which have more intricate designs.

Then to wrap up Kirk Nelson observes from looking at the books.
Quickly flipping through the books, I see that Ms. Ellman’s photo of the “sculptured” head in the mosaic panel is published by Dimitroff from a photo at Alfred (p. 99) and the bowl with the deer is published by Dimitroff from a photo at the Rakow (p. 253). He describes the bowl as “acid-etched.” Both of these items are thought to predate Carder’s “studio” period. Most curious.
Kirk